Originally posted by frankbridge
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What Classical Music Are You listening to Now? III
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Olga Peretyatko – ‘Rossini!’
Arias from Il Viaggio a Reims, Semiramide, Tancredi, Matilde di Shabran, Il Barbiere di Siviglia, Il Turco in Italia
Olga Peretyatko (soprano)
Coro e Orchestra del Teatro Comunale di Bologna / Alberto Zedda
Recorded 2014 Teatro Comunale di Bologna
Sony, CD
Dvořák
String Quintet in G major, Op. 77, B.49
Piano Quintet No. 2 in A major, Op. 81, B.155
Škampa Quartet,
with Laurène Durantel (double-bass) (Op. 77); Kathryn Stott (piano) (Op. 81)
Recorded 2007 Dvořák Hall, Rudolfinum, Prague, Czech Republic
Supraphon, CD
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I'd known l'Ascension for years but les Offrandes was new to me when I acquired the Chung recording as part of a box set. I was struck by the sureness of the writing , as if Messiaen knew from the outset just what he wanted to do in music. Few composers, it seems, exhibit this quality (Handel is one).
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Originally posted by smittims View PostI'd known l'Ascension for years but les Offrandes was new to me when I acquired the Chung recording as part of a box set. I was struck by the sureness of the writing , as if Messiaen knew from the outset just what he wanted to do in music. Few composers, it seems, exhibit this quality (Handel is one).
The Ascension suite first appeared in 1933 as an orchestral work. In the subsequent organ version of 1934, the first, second and fourth movements remain relatively unchanged. However, the third movement from the orchestral version became so difficult to adapt for organ that Messiaen decided to write a completely new piece.
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I have a recording of the organ version, played by the composer, in 1956 (lovely summer that year, I recall), but I haven't listened to it much and haven't compared it with the orchestral version. Your message prompts me to do this. His own performances are said to be as interesting, interpretatively speaking, as those of Rachmaninov and Elgar; the final chord of priere du Christ lasting almost a whole minute!
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Originally posted by smittims View Postthe sureness of the writing , as if Messiaen knew from the outset just what he wanted to do in music.
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Listening to different performances of Schumann’s Stille Tränen on Spotify, my ears pricked up on Prégardien and Gees. This is a song which needs an excellent pianist as well as an excellent singer and Prégardien/Gees fit the bill. They take Stille Tränen unusually slowly, and I think that’s a good idea. This looks to me like a Kerner Lieder worth getting to know.
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Originally posted by RichardB View PostIndeed, although he was standing on the shoulders of composers whose work has been more or less forgotten, like Maurice Emmanuel - listen to the first minute and a half of his First Symphony (1919) https://www.youtube.com/watch?v=WG4UFNb1WGE and you'll hear where a lot of Messiaen comes from, even if, as in the similar situation of Mahler vis-à-vis Hans Rott, he perceived potential in his predecessors' material far beyond what they had done with it.
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Donizetti
‘Rosmonda d’Inghilterra’ – opera seria in two acts
(prem. Florence 1834)
Enrico II - Bruce Ford (tenor); Leonora di Guienna - Nelly Miricioiu (soprano);
Rosmonda - Renée Fleming (soprano); Gualtiero Clifford - Alastair Miles (bass);
Arturo - Diana Montague (mezzo-soprano)
Geoffrey Mitchell Choir
London Philharmonic Orchestra / David Parry
Recorded 1994 Henry Wood Hall, London
Opera Rara, 2 CD set
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Originally posted by RichardB View PostCPE Bach, sonatas and rondos played on the clavichord by Jocelyne Cuiller (as mentioned upthread by Mandryka). This is maybe the most convincing and colourful clavichord recording I've ever come across.
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